Mötley Crüe – Too Fast For Love (Album Review)

Released in 1981, Mötley Crüe's debut album, Too Fast For Love is a seminal piece of rock music that defined the glam metal genre via ten tracks of hard-hitting, high-energy rock that captured the Crüe's raw and rebellious sound.

With cover art reminiscent of The Rolling Stones’ Sticky Fingers, Mötley Crüe were demanding the world sit up and take notice and notice they did for the RIAA (Record Industry Association Of America) has certified Too Fast For Love as Platinum; selling over 1,000,000 units. Not bad for a debut!

While most fans lean towards their second album Shout At The Devil, along with Dr. Feelgood, fans should avoid Too Fast For Love at their peril for it is an astonishingly good album that is not only addictively compelling but gets better each time you listen to it.

Sonically, however, the lossless stream, via Apple Music, fails to truly impress. It’s your classic case of a memorable recording being remastered to meet modern loudness standards. It’s been mastered so hot that even tone controls have little to no beneficial effect concerning dialling the album to your personal preferences for the soundstage is unnecessarily muddy from the get-go. Look, it’s adequate, but it could have been so much more dynamic.

The Dolby Atmos stream also on Apple Music, disappointingly, does little to improve things. Other than being a little fuller, there really is no difference between this edition and the stereo mix. That’s not uncommon, especially considering the album was originally intended to be delivered in stereo, but it also feels as if it was a missed opportunity and only done to say that it was done rather than being undertaken because it offered music lovers another way to experience this classic album.

Despite the lacklustre remastering and reissue attempts, Too Fast For Love is really all about the music, so join me as we take a look at the songs, some of them classics, that make up this 1981 debut.

Live Wire is a killer opener. From the thunderous drum beat that sets the tone for the rest of the album, to Vince Neil's gritty and powerful vocals, and guitar riffs that are simply electrifying, Live Wire is nothing short of a classic hard rock anthem that has stood the test of time.

Come On And Dance has an incredible rhythm and a strong blues-inspired sound that works incredibly well with just enough distortion to amplify the song rather than detract from it. It is, without a doubt, one of my favourite Mötley Crüe songs.

Public Enemy #1 flows beautifully from Come On And Dance and Mick Mars’ licks are off-the-charts good. I don’t know about you, dear reader, but my air guitar is worn out from playing along to this high-energy punk-influenced track.

Merry–Go–Round slows the album down a little, but this ballad-styled song shouldn’t be overlooked for it is thoroughly enjoyable; even if it isn’t a standout. Although, Mars’ solo certainly amplifies the song and showcases the direction that he would take on future Mötley Crüe recordings.

Take Me To The Top is a fast-paced rocker with a killer guitar riff and a catchy chorus. The duelling guitar and bass rhythm is pure gold and while the shifting elements change the tempo throughout, it is these aspects that make Take Me To The Top one of the best songs off Too Fast For Love.

Piece Of Your Action has a killer riff and chorus that will get stuck in your head for days. It’s 80s rock and roll at its best. Magnificent!

Starry Eyes is a slower, more melodic, tune with a great hook, addictive rhythm, and some stunning guitar work.

Too Fast For Love is a high-energy rocker but it’s also a mixed bag. It isn’t fundamentally bad, but Neil’s vocal, in particular, is lacklustre and diminishes the impact that the song could have had. Also, the shifting direction of the song throughout drives me nuts. It’s Crue 101 but I simply don’t feel it’s a great title track.

On With The Show slows things down again, with a more ballad-like sound, that features some beautiful guitar work and some of Neil's best vocals on the album. Yes, it’s a little dated to the era and has a campy sound, but it’s solid nonetheless. As the album’s closer, however, it’s underwhelming and doesn’t always encourage me to spin the record again or stay within Mötley Crüe’s back catalogue; a shame considering a shift in sequencing may have had a vastly different impact.

Packed with high-energy rockers, melodic ballads, and killer guitar work, Too Fast For Love is a must-listen debut album that has not only stood the test of time but it showcases the drive and musical talent of this motley crew. While it isn’t their best creative output, it offers an insight into the monster of a band that they would ultimately become and is therefore essential for any fan of Mötley Crüe or the 80s hard rock music scene.

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Billy Squier – Don’t Say No (Album Review)

Released in 1981, Don’t Say No features ten tracks of hard-hitting rock music with catchy riffs and powerful vocals that ultimately became Squier's breakout success, following his solid solo debut The Tale Of Tape. Spawning several hit singles and earning him critical acclaim, Don’t Say No is a quintessential example of the 80s hard rock sound, featuring heavy guitar riffs, synthesizers, and anthemic choruses. It’s 80s to the core, but the high production values ensure that it not only remains a highlight of the era, but still holds up today.

The artwork, however, hasn’t aged so well and is arguably one of the most uninspiring pieces of album artwork that I’ve ever seen. While it doesn’t qualify for a position on The Worst (And Most Disturbing) Album Covers Of All Time, it equally doesn’t compel me to pick up the album from the visual standpoint alone. Let’s just say, at times like this, I’m glad we listen with our ears and not our eyes.

Listening to Don’t Say No, via Apple Music, is subsequently pleasing. There’s clarity, fullness, and a vibe that will keep you coming back for more. That said, at times I feel there is a veil over the recording and that it truly doesn’t come alive. Of course, that could just be an opinion based on wanting to pick up the extremely well-received vinyl reissue from Intervention Records but until I get a chance to pick up the vinyl version, this Hi-Res Lossless Apple Digital Master is the perfect counterpart; even if the aforementioned reissue is artist approved.

Unfortunately, one common limitation of streaming is that we don’t know if Squier signed off on the release or not. While that normally wouldn’t be an issue, Squier did approve the vinyl reissue and it would be interesting to know what involvement he had in the 2010 remastering from which I believe the stream on Apple Music is derived. Nevertheless, it’s the music we’re after, isn’t it? Please join me as we explore the incredible songs that make up this landmark 1981 release.

In The Dark starts off slowly but it isn’t long before it turns into a high-energy rocker with a driving beat and a blistering guitar solo that sets the tone for what's to come.

The Stroke is likely Squier's most well-known song, with its instantly recognisable riff and catchy chorus. Rock music doesn’t get much better than this, does it?

If you’re interested in the crossing of musical streams, Eminem sampled the tune on his 2013 song Berzerk. It isn’t the greatest Eminem tune, by any standards, but it’s great to hear Squier’s killer riff extended beyond his recording. In fact, it isn’t the only time Eminem was inspired by Squier for he also sampled the next song on the album, My Kind Of Lover, on his 2014 song Shady XV.

My Kinda Lover is a fantastic mid-tempo rocker with a chorus that will compel you to sing along.

You Know What I Like is the first non-standout album tune but its driving rhythm and Squier’s corresponding vocal delivery ensure that it is vital to the overall album experience.

Too Daze Gone is a mondegreen waiting to happen; I love it! Too Daze Gone is one of the greatest songs from Don’t Say No. You’ve likely never heard it outside of the album structure but it should have been a hit; if for no other reason than its wittiness. Of course, if you’re like me, you’ll also be drawn to the addictively good funky basslines, memorable guitar riffs, and piano playing.

Lonely Is The Night is simply magnificent. How this wasn’t released as a single is beyond me for it has that Led Zeppelin feel that just screams chart-topper. Of course, it sounds like Zeppelin because the styling is very similar to that of Nobody's Fault But Mine from their 1976 release, Presence.

Nobody's Fault But Mine wasn’t an original Led Zeppelin tune, however, just a re-arrangement and new interpretation for the core of the song was originally written and recorded by Blind Willie Johnson in 1927. The original was so compelling that it’s had numerous interpretations, with varying styles, throughout the years and while Lonely Is The Night wouldn’t be considered a direct descendent, the spirit of the original Blind Willie Johnson tune lives on through this tune as much as it does via the other recordings that have been made.

Whadda You Want From Me is a fast-paced rocker with a killer guitar riff and a catchy chorus. What more could a rock and roll lover ask for?

Nobody Knows slows the tempo down with an acoustic-styled number containing a beautiful guitar element and a stunning vocal presentation. Nobody Knows is also perfectly positioned within the album structure for it gives the senses a reflective break before leading into the final two tunes.

I Need You is a funky power ballad with a heartfelt melody and vocal presentation that will see you singing along. What a great tune!

Don’t Say No is a substandard closer as it doesn’t always compel me to listen to the album again or further explore Squier’s back catalogue of music. While I don’t feel that the song should have been omitted, I would suggest that a re-sequencing would have been best to ensure greater synergy.

From start to finish, Don’t Say No will interest those of you who adore infectious melodies and hard-hitting rock tunes that have stood the test of time. It’s a must-listen and even if you’re not a fan of Squier’s, yet, you’re bound to find something to enjoy on this 80s masterpiece.

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John Farnham – Whispering Jack (Album Review)

Farnsy, as he is lovingly known to Australian audiences, is an icon of the pop music industry. Despite that, many international readers will likely be unfamiliar with his music as international sales of his records, and a lack of touring, guaranteed him a position as Australia’s preeminent musical entertainer. 

Released in 1986, Whispering Jack became a classic Australian pop rock album that showcased Farnham’s impressive vocal capabilities via a series of timeless tunes. A commercial success, reaching number one on the Australian charts for 25 weeks, and becoming the highest-selling album in Australia, Whispering Jack has gone on to sell more than 1.68 million copies, as of 2006. That may not seem a lot by international standards, but this represents superstardom for an Australian artist where the population of the country is just over 25 million (16 million, at the time of the album’s release).

Whispering Jack is known as Farnham’s breakout album, but it certainly wasn’t his first outing as a performer for it’s his twelfth studio album. Previously, Farnham had been a pop teen idol, billed as Johnny Farnham, the Justin Bieber of his day, and lead singer of the Little River Band in the early 80s, but he never quite reach household name status until the release of Whispering Jack.

Farnham’s history and the way Whispering Jack came about is legendary and it would be a perfect candidate for defining the meaning of the “Little Aussie Battler”. On that note, it's important to acknowledge that Glenn Wheatley, a former bass guitarist for The Masters Apprentices, was responsible for primarily funding the recording of Whispering Jack and without his support, this exceptional recording would never have seen the light of day.

Wheatley's support ensured the Australian music-loving public would also experience the equally exceptional Age Of Reason (1988) and Chain Reaction (1990) with his latter albums being solid but not career-defining. Nevertheless, the one thing that always captured my attention was Farnham’s unique vocal style as his timbre is immediately identifiable. Similarly, the lyrics he’s singing are pronounced so eloquently that there’s rarely a need to refer to the liner notes for guidance on Farnham-themed karaoke nights as there isn’t a mondegreen to be heard. 

Sonically, the lossless Apple Music stream, of the non-remastered, non-anniversary, edition of Whispering Jack sounds superb. The remastered version is simply too loud and becomes fatiguing to listen to despite the nice boost in the low mid-range. Of course, if you adjust your EQ settings you can achieve similar results without brickwalling the entire recording.

Before we take a look at the songs that make up this classic Australian album, I must comment on how striking the album artwork is. It’s clean, minimalist, 80s (yet not tacky), and is instantly recognisable from a distance. Few artists ever have artwork that is so highly polished that it matches the recording contained within, but this is certainly one of them. 

Pressure Down is an upbeat pop-rock anthem that sets the tone for the rest of the album. Farnham's powerful vocals and the catchy guitar riffs make this track an instant classic. While it will take you back to the 80s, with a pop-synth sound that was revolutionary at the time, it interestingly doesn’t feel that distant from modern pop music; further validating its longevity of relevance. 

Interestingly, you may notice a few seconds at the beginning of the song that, when listening on speakers, is seemingly void of anything. However, when listening via headphones, especially with high gain on and at ear bleeding levels (not recommended–please protect your hearing), it’s possible to hear the whispering element. 

Initially, I had thought that the spoken word was ‘a restructure of subject or language.’ Of course, Google is our friend and as such directed me to Jane Gazzo’s Herald Sun column. Gazzo details the spoken words as actually being ‘there is no restriction on subject or language.’ Yes, there is an interesting and somewhat humorous story behind this revelation, but I implore you to read Gazzo’s piece for the full story. Gazzo has also recently published John Farnham: The Untold Story. I’ve yet to read it, hence this isn’t an endorsement, but I’m looking forward to checking it out when I have time.

You’re The Voice is perhaps one of the most iconic and emotionally moving songs ever written and recorded and is arguably more relevant today than it was upon its release. It’s inspirational and puts humanity into perspective with simple yet clearly defined lyrics.

The inclusion of the bagpipes and a guitar solo in the chorus is nothing short of pop/rock gold for this is one power ballad that will captivate and guide you throughout the entire recording.

Farnham’s vocals on You’re the Voice are simply incredible and nothing short of world-class. Very few performers can sing with such raw honesty and I truly believe Farnham has never sung another song with such passion and conviction. Of course, it isn’t just Farnham, his musicians, and the production team that need to be acknowledged for this masterpiece as Chris Thompson, Andy Quanta, Keith Reid, and Maggie Ryder all deserve credit for writing such an incredibly beautiful song. ; one that has become an unofficial national anthem for Australia.

One Step Away has never really resonated with me. Perhaps it’s because it follows one of the greatest songs ever recorded, but it just feels out of place in the album’s sequencing. It’s fair to say that One Step Away is no one’s favourite track, for it’s a B-side at best, but Whispering Jack wouldn’t be the same without it. 

Reasons is a song I love because it was my first introduction to the whiplash sound in music. Yes, this synthetic sound was available before a hundred whiplash apps made it to your smartphone and into the zeitgeist. Additionally, the beat is addictive, as is the catchy guitar riff, memorable chorus, and atmospheric backing. It’s rather complex, with many elements to listen to, yet the soundstage never feels crowded. Reasons is what pop rock music is all about and you will definitely want to turn the volume up to 11.

Going, Going, Gone has an introduction that I feel detracts from the song and the flow of the album. Additionally, while the song may appeal to some, it isn’t a personal favourite. That said, it grows on you and over the years I’ve come to appreciate it as a solid addition to the album.

No One Comes Close has a bass guitar intro that’s simply magnificent (thank you, Roger McLachlan) as it forms the overall tempo of the tune. I mention this because I feel the bass guitar remains one of the most underrated instruments in music reproduction and creation and I love when it’s more prominent in a mix. While No One Comes Close doesn’t break any new ground, it’s a hidden gem, is thoroughly enjoyable, and ticks all the relevant boxes for what an upbeat pop-rock tune should sound like.

Love To Shine is a more experimental track that features a funky bassline and electronic elements to form the basis of a song that you just won’t be able to stop yourself from singing along to. Farnham's vocals are once again on point, as he delivers the song's lyrics with passion and energy, and while it was never released as a single, it probably should have been for I dare say it would have done well. 

Trouble is one of those truly unique tunes that are difficult to articulate. That said, it’s thoroughly enjoyable and I consider it to be one of the strongest songs from Whispering Jack for it is the epitome of the era from which it came. 

A Touch Of Paradise is, in my opinion, a sonic masterpiece. It’s incredibly soothing but also encourages you to turn the volume up and sing along to a simply gorgeous chorus. Farnham has sung many incredible ballads throughout his career, he’s a master of the craft, but there is something special going on here for A Touch Of Paradise, not unlike his performance on You’re The Voice, further showcases what a spectacular vocalist he is. 

No one could possibly outperform Farnham on this tune and even the original recorded by Mondo Rock, on their 1982 album Nuovo Mondo, is substandard by comparison. That’s not to suggest that Mondo Rock’s version is flawed, for it’s not and had Farnham never covered the song, I’d be singing the praises of the Mondo Rock recording as it’s got a blues-based rock styling that is thoroughly enjoyable. 

Let Me Out is the perfect song to close Whispering Jack on. Its edginess is its core appeal for the song is rooted in the pop rock 80s style that includes a little bit of everything, including a killer guitar solo, backing vocals, and some really believable synthetic horns that add to a jazzy feel not unlike Robert Palmer’s Addicted To Love. What’s not to like?

Overall, Whispering Jack is a classic Australian pop-rock album that showcases John Farnham's impressive vocal prowess. From the upbeat anthems to the poignant ballads, each track on the album is a standout in its own right, and the record as a whole remains a beloved Australian classic. If only all music could be this good!

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Peter Cetera – Peter Cetera (Self-Titled Album Review)

Released in 1981, Peter Cetera's self-titled solo debut album was a musical departure from the legendary band Chicago, where he served as lead vocalist and bassist. Yet, with a greater focus on rock elements, this release showcases just what an incredible talent as a musician, vocalist, and songwriter Cetera really is.

Co-produced with Jim Boyer (renowned for his work with Billy Joel), Peter Cetera is one of the best albums that, unless you’re a die-hard fan, you’ve likely missed. Yes, dear reader, this is a hidden gem that shouldn’t be ignored and while it was a failure from a sales perspective, success at the cash register has never been a hallmark of quality as it pertains to the creative arts.

It truly amazes me how this album flew below the radar. The album artwork alone is stunning and was released when vinyl records were still the dominant music format. I don’t know about you, but I would have been captivated by the cover art alone if I had seen it on display at a local record store.

While I would love to say that musicians don’t need record labels, and their marketing teams, this is one example where the support just wasn’t given for the album’s release and sales were subsequently absent. There’s no doubt, however, that Warner Bros. Records knew that this self-titled release had the potential to be a breakout album for Cetera. Perhaps if Chicago, as well as Cetera, hadn’t just been dumped from Columbia Records, Warner (their new label) may well have been interested in focusing on something other than Chicago’s 1982 release Chicago 16.

While it is easy to vilify record labels, Cetera’s solo success would indeed have been a concern for Warner, as few artists can maintain simultaneous solo and band careers. The downside to their decision to not push the album resulted in one of the greatest albums from 1981 going largely unnoticed for decades. It is with that thought that I’m so incredibly grateful that we have access to streaming services for it allows us to seek out these hidden gems and share them with other music-loving individuals, such as yourself.

Livin’ In The Limelight is a killer tune that has a catchy and upbeat rhythm with one of the very best driving basslines and guitar riffs you’re ever likely to hear in all of recorded music history. It’s a masterpiece!

I Can Feel It continues the rocking groove, with a slightly slower tempo, that allows Cetera’s impressive vocal reach to take center stage. It’s a fantastic tune and while not as strong as Livin’ In The Limelight, it’s thoroughly enjoyable and the guitar solo, while subtle within the mix, adds to the overall feel of the tune.

How Many Times has an incredibly funky bassline and catchy chorus. It’s simply fantastic and is one of the best songs Cetera ever recorded; including those with Chicago. Some may disagree, but How Many Times showcases Cetera's versatility as a musician, particularly as a vocalist, and is one of the greatest hidden gems just waiting for music lovers to find.

Holy Moly has an upbeat Boz Scaggs' feel to the tune; magnificent!

Mona Mona is a stunning jazz-inspired song. All elements are utterly perfect and Cetera’s lyrical pace is spot-on for his style of vocal delivery. However, the most noteworthy element is Gary Herbig's saxophone playing for it takes the tune to masterpiece status.

On The Line is a perfect mid-tempo tune with yet another incredible vocal performance from Cetera and a memorable guitar solo from Josh Leo. It may be an album tune, but it’s songs like On The Line that make this self-titled release so compelling.

Not Afraid To Cry is a solid album track. It's not a standout, but every song need not be extraordinary to ensure an album is thoroughly enjoyable.

Evil Eye is a funky, country guitar-driven track with a catchy chorus. What’s not to like? Cetera’s ability to fuse different genres seamlessly never ceases to amaze me.

Practical Man transitions extremely quickly from Evil Eye, perhaps a little too quickly as you could mistake Practical Man for a continuation, a second part if you will, of the previous song. Intentional or otherwise, Practical Man is another solid album tune with some memorable musical hooks and more of Cetera’s unique and pleasurable singing.

Ivy Coloured Walls is a perfect closer. While not the strongest song, although I love the chorus and the guitar solo, it does compel me to listen to the album again and further enjoy Cetera’s extensive catalogue of solo recordings as well as those with Chicago.

Overall, Peter Cetera's self-titled debut solo album is a rocking release that not only played to the era, but showcased Cetera’s incredible musical talents. With a little less production, compared to Chicago’s releases, Cetera took center stage as he explored new musical directions. It remains a shame that the album didn’t garner more recognition for it is severely underrated. Nevertheless, this self-titled album is a timeless classic that can now be fully appreciated in the modern era by music lovers the world over.

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ABBA – Super Trouper (Album Review)

Super Trouper, ABBA’s seventh studio album, is one of their greatest releases with a more mature sound signature than that of their previous albums. It’s also one of the greatest releases from 1980 and while I’d suggest The Visitors is superior to Super Trouper it is merely because their last album, for some four decades, was the most polished recording the Swedish pop band ever released. Although, it did lack the merriment aspects of ABBA’s previous releases. Nevertheless, there’s something special about Super Trouper that encourages me to come back and enjoy it time and time again.

Other than the music, the album cover art is compelling despite it being rather busy. Created when the larger structure of vinyl reigned supreme, streamers and even CD collectors will concede that the artwork loses something on a smaller canvas. If a picture tells a thousand stories, then this is somewhat problematic for I love nothing more than gazing into the artwork, as I listen to the music, all the while allowing my mind to get carried away by the stories it wishes to tell itself.

While I’m fortunate to own The Studio Albums vinyl box set, and can subsequently enjoy the artwork in its full glory, a busy lifestyle, and a crowded house, often means streaming is far more accessible. Plus, as much as I adore the sonic reproduction of The Studio Albums collection, the lossless Apple Music stream, an Apple Digital Master, is stunning and is the box set’s sonic counterpart. 

Yes, you read that correctly, the Apple Music stream is full-bodied and smooth with no digital glare or harshness, to be heard, while offering a spacious soundstage with no detail concealed and just enough space between all musical elements. One song that highlights this aspect best is Lay All Your Love On Me as it’s notorious for sounding harsh and treble-focused, particularly on the CD editions I’ve heard, yet on Apple Music, it’s incredibly close to the tonality of the vinyl record. Subsequently, there’s little doubt in my mind that the Apple Music stream is one of the very best ways to enjoy this classic album; it really is that good!

Super Trouper launches the album beautifully with a slow build that's simultaneously relaxed and engaging. As the song builds to the chorus, which is arguably its greatest asset, the rhythm reaches into my soul and doesn’t let go for the entire length of the tune. You’ll be head-bopping and toe-tapping as only ABBA could induce and the lyrics are so addictive that you’ll likely find yourself singing along with Frida to this classic song. 

The Winner Takes It All represents one of my earliest memories of ABBA and I was wowed then just as I am now. Songs are often timeless and The Winner Takes It All is no exception as it’s one of ABBA’s greatest recordings. While it’s undoubtedly a very personal ballad, somewhat detailing the dissolution of Björn and Agnetha’s marriage, this is an example of why I rarely listen to music for lyrical meaning, instead preferring to hear the vocal as an instrument in its own right. It simply means the analytical aspect of my mind isn’t active and I can enjoy the song without analysing it.

On And On And On is a fun little tune that harks back to early ABBA releases; think pre-Arrival. Believe it or not, that’s a compliment. While I wouldn’t suggest ABBA got too serious throughout the years, despite their music maturing as they honed their craft, it’s these upbeat tunes that are at the core of ABBA fandom. 

Andante, Andante is beautiful and is one of Frida’s finest vocal performances.

Me And I has an epic introduction and the song is fantastic but I’ve always had a love/hate relationship with it as I don’t feel the verses are strong enough to hold the song together. I do, however, love the chorus and the synth-pop styling. 

Happy New Year starts promisingly and while it isn’t a bad song, it’s a little too campy for my liking. That said, Agnetha’s lead vocal is simply gorgeous.

Our Last Summer is a beautiful tune with Frida on lead vocal. You’ll hear every quiver from her vocal cords and it never ceases to amaze me how well her vocal was captured on this song. However, it’s the rock and roll elements that I like most and the guitar solo/riff is simply magnificent. All of this culminates in Our Last Summer being one of the best songs ABBA ever recorded. 

The Piper is interesting as it could almost be considered a traditional folk music tune with a modern twist. Nevertheless, The Piper has ABBA’s magic musical elements throughout thereby making the song timeless, for it doesn’t sound as if it has aged a day. An incredible song!

Lay All Your Love On Me would have been the perfect closer as the upbeat disco-inspired vibe encourages playing the album again.

The Way Old Friends Do (Live 1979) is the closing track when looking at the album from the original tracking and it’s quite lovely. It doesn’t, however, have the same sense of urgency as Lay All Your Love On Me, for it is far too relaxing and reflective, to encourage spinning Super Trouper again. 

Elaine is a non-album track that made its way to the album when it was reissued on CD in 1997 and has subsequently been maintained on all digital releases henceforth. I generally lament the inclusion of bonus tracks, particularly post-release, and this is no exception. There’s nothing fundamentally wrong with the song, but it isn’t worthy of inclusion on Super Trouper, despite being the B-side to The Winner Takes It All. Thankfully, due to the convenience of streaming, I can delete that song from the album and appreciate Super Trouper as it was originally intended. 

Super Trouper is an incredible album from start to finish. While I still consider The Visitors to be a superior release, Super Trouper is a musical masterpiece that not only needs to be heard but shared, for it’s a timeless classic that will continue to be appreciated for as long as intelligent music-loving life exists. 

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AC/DC – Back In Black (Album Review)

Following Bon Scott’s unfortunate passing, it wouldn’t have been far-fetched to have seen AC/DC disband. After all, how could anyone match, surpass, or even complement Scott’s vocal prowess? I think by now we can all attest that Brian Johnson achieved those feats and was the ideal replacement. That said, it’s imperative that we remember Scott as a master vocalist, with a larger-than-life personality, that was pivotal in setting the stage for what AC/DC would ultimately become; an unbridled hard rock powerhouse that appealed to everyone.

As one of the best-selling albums in history, with sales exceeding 50 million units, Back In Black needs no fanfare, or even this review, for the album is a timeless classic. Some will declare it AC/DC’s greatest release, and I’d certainly put it towards the top of the list, but the strength of Back In Black is that it is a cohesive album experience. In fact, part of the appeal is that AC/DC was never drawn to the double-album hype, instead choosing sub 50-minute runtimes. Okay, so Black Ice is a 55-minute monster, but you get the idea. Back In Black comes in at 42 minutes and is the perfect length with never a dull moment or a B-side to be heard. 

Naturally, the band and Johnson need to be celebrated for such a masterpiece, but the production team with Robert John "Mutt" Lange, once again, in the producer’s chair ensured that Back In Black was a further evolution and the perfect followup to Highway To Hell. Lange was also pivotal in suggesting Johnson to the band; a suggestion that is arguably one of the most influential in all of music history. While it may be blasphemous to suggest such a thing, as I listen to Back In Black, I can’t for the life of me consider how Scott would have recorded these songs. Yes, we’ve heard Johnson sing Scott’s tunes live over the years, but my mind doesn’t work in the opposite direction. Well, except for You Shook Me All Night Long, but that’s likely a controversy that we’ll never truly have a conclusive answer to as it has been suggested that it, or certain parts of it, was penned by Scott. Nevertheless, had Scott not died, I dare say Back In Black would have sounded considerably different. Not bad, by any means, just different! 

While the music is iconic, so is the album artwork. You can’t help but think of Scott when you look at the cover art. It’s perfect!

What is also the definition of perfection is the (Hi-Res) Lossless Apple Digital Master. I’ve been fortunate to have owned the 2003 remastered CD and vinyl releases and both didn’t come close to the sonic reproduction I’m getting from Apple Music. The CD was a victim of the loudness wars but still sounded rather nice. The vinyl counterpart, however, suffered from inner groove distortion on the closing track for each side. It was the type of distortion that would irritate the senses every time I’d play the album. A shame, yes, but that is the nature of the format as it’s never quite perfect. While no format is without fault, the Apple Music stream is stunning with crystal clear sound, and an immersive and spacious soundstage, while also having the desired level of distortion that we all expect from AC/DC. 

Hells Bells has the greatest opening of any song or album ever recorded. Seriously, the haunting bell toll is next-level and the entire mix is utterly brilliant (thank you, Tony Platt). Add the exceptional guitar work from both Angus and Malcolm Young, and the contributions from the rest of the band, and you’ve got an exceptional tune by any standards. 

Shoot To Thrill is a monster tune. It’s the quintessential arena-filling song and remains as fresh in the modern era as it was when first released in 1980. There’s little doubt that Shoot To Thrill will exist in the social consciousness well after we’ve all taken our leave.  

What Do You Do For Money Honey offers listeners a seamless transition and therefore leaves little doubt as to why so many declare that AC/DC simply record the same song over and over again with minute changes. While I don’t disagree with that position, a large part of their appeal is that we know exactly what we’re going to get.

Givin The Dog A Bone continues the rhythmic driving sound that we all love. While Back In Black isn’t necessarily my favourite AC/DC album, the blues-driven Stiff Upper Lip fills that position, there isn’t a bad song to be heard on the album and Givin The Dog A Bone is one of their best. 

Let Me Put My Love Into You shifts the tempo slightly and there’s a real focus on a blues-based rhythm. No, AC/DC never recorded a ballad, but if you’re after a slower song that could, with a stretch of the imagination, make its way to a ballad playlist, then Let Me Put My Love Into You is the song for you. 

Back In Black needs no introduction or fanfare. Just turn the volume up and enjoy!

You Shook Me All Night Long is a killer tune and if you’re listening on speakers, in the stereo sweet spot, there’s nothing quite like it. Yes, headphones give you a sense of the immersive soundstage, but via speakers that are correctly set up, you’ll feel as if you’re in the studio with the band. It’s an ethereal experience! That said, was it lead single material? I’m not sure it was the right decision but it’s hard to argue with a song that is so revered and is one of the best tunes to incorporate a double entendre.

Have A Drink On Me as a song on its own is perfect, but the transition from You Shook Me All Night Long presents a jolt to the senses that takes time to adjust to. It’s a minor frustration, as it’s got a killer blues-based rock and roll rhythm that I adore, but I sincerely hope you don’t suffer the same experience when listening to Back In Black linearly.

Shake A Leg has, as much of AC/DC’s music does, an incredible guitar tuning with the notes being held the perfect length of time while also maintaining just the right amount of distortion. Yes, Shake A Leg is a carbon copy of numerous other AC/DC songs, but I don’t care. I love it!

Rock And Roll Ain’t Noise Pollution is the perfect closer and is literally accurate. Although, don’t tell my neighbours for I detest their music choices and I don’t want them to think that their music is anything but noise pollution. That drawl slow-build opening is what rock and roll dreams are made of. Absolutely incredible! The result is that Rock And Roll Ain’t Noise Pollution encourages me to listen to Back In Black again; for you can never listen to this album only once. Additionally, as I listen to this final track, I can’t help but remain wowed and appreciative of the music that AC/DC has given us. No matter what life dishes out, we are incredibly blessed to have AC/DC's music to keep us company along the way. 

Back In Black may have catapulted AC/DC to a level of success that dwarfed everything they had previously achieved, but it simultaneously became one of the greatest hard rock albums ever released while memorialising their former frontman. Back In Black truly knows no equal, it's a masterpiece! 

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Cold Chisel – East (Album Review)

East may not be as polished as Circus Animals, but this 1980 release, the band’s third studio album, throws hit after hit at fans and music lovers. While more commercial than Breakfast At Sweethearts, and their self-titled debut, East is a further testament to the importance of extensive touring as it created a cohesive synergy within the band that translated to their work in the studio. Sadly, this element is missing from the contemporary Australian music scene.

Yes, you read that correctly, the modern live scene for musicians in Australia is at an all-time low, yet that wasn’t the case in the late 70s and 80s as countless bands sharpened their skills on the local pub and club scene. These days, bands go to practice; it simply isn’t the same. What better platform is there to test out new ideas and refine one’s sound than in front of a live audience? While we can, and will, lament the changing tide, there will likely never be an era in Australian Music as productive as that which drove Cold Chisel from obscurity to the top of the charts. 

East has become a timeless classic and in pondering the aspects that make this release so special, it must be noted that it’s the first Chisel album to include songs written by all band members, rather than Don Walker alone. Walker is a magnificent composer, but when you’ve got a band of very talented individuals, it pays to consider their contributions and it paid off in a big way. Not only were the songs exceptional but they all represent Cold Chisel perfectly. It would have been amazing to be a fly on the wall for you have to believe that the band knew they were writing a hit album. 

Of course, as musically talented as Cold Chisel are, Jimmy Barnes on lead vocal is the highlighting factor. His unique vocal style is sensational and despite his drug and alcohol abuse during the time, his vocal isn’t unnaturally slurred and is simply amazing. Ian Moss, similarly, deserves recognition and respect as he’s very much Barnes’ counterpart in that he provides listeners with a less chiselled (yes, pun intended!) vocal that works exceedingly well as a backing vocal. Moss is also incredibly talented on lead vocals and that is no more apparent than on My Baby. 

There is, however, a problem. The mastering isn’t great. Disappointingly, the same problems I have with Circus Animals are repeated here and despite being a (Hi-Res) Lossless Apple Digital Master, it doesn’t help. Yes, some songs sound far better than others but the mastering is hot and subsequently sounds a little wimpish in the mid to low end as there’s most certainly a focus on clarity and the treble range. Some of you may prefer that sound signature, but I feel it weakens the oomph of the band. Subsequently, I find that I need to apply EQ to get the most out of the album as it simply doesn’t hit the emotive chords as much as I’d like or as much as other albums from the era do.

Standing On The Outside is a great tune but has one of the all-time worst openers as it doesn’t glide the listener into the music. Its tempo is the real issue here and I find myself preferring to put East on shuffle to avoid this abruptness. A subjective viewpoint, certainly, as I’m sure many would consider it the greatest opening track of any Chisel album.

Never Before transitions from Standing On The Outside beautifully and would have been my preferred choice as the opening track as it’s one of my favourite Cold Chisel songs. Musically it’s a masterpiece with an instrumental element, mid-song, that is simply stunning.

Choirgirl is an absolute classic. I dare say there isn’t an Australian that hasn’t heard this blues-focused ballad. While the context of the song may be seen as somewhat controversial, the song itself is compelling in that Jimmy Barnes and Ian Moss have recorded masterful lyrics. That said, I’d ideally like to hear Moss’ vocal being more forward in the mix, but the culmination of Barnes and Moss is what musical dreams are made of. 

Rising Sun is a fun little tune mixing rock and roll with old-school country music techniques. There’s more of an American feel to the song than an Australian influence, but that isn’t necessarily a distraction for Rising Sun is most certainly suited to Cold Chisel and in some ways can be seen as a precursor to Barnes’ later solo explorations on albums such as Soul Deep.

My Baby is a killer pop-rock tune with Ian Moss on lead vocals and Joe Camilleri performing a masterful saxophone solo. My Baby was composed by bassist Phil Small; one of his few contributions as a writer in Cold Chisel. There’s little doubt, in my mind, that My Baby is not only one of Chisel’s greatest recordings, but it’s one of the very best songs ever recorded. Moss, as lead vocalist for My Baby, was undoubtedly the best choice as his vocal smoothness works incredibly well with the song.

Tomorrow is a solid album tune. Sometimes that’s all that’s required. 

Cheap Wine is another Chisel staple and when I suggest that East plays akin to a greatest hits release, rather than a standalone studio album, it’s songs such as Cheap Wine that uphold this opinion.

Best Kept Lies shifts the tempo a little with a fun bebop influence mixed in for good measure. Best Kept Lies is unlikely anyone’s favourite Cold Chisel tune, but there’s something compelling about it that can’t be denied. If nothing else, it should be at the top of any Deep Cuts playlist. 

Ita is a great tune and while I could question the lyrics, this is one of those songs where I turn the analytical side of my brain off and enjoy the vocals as an instrument within the mix.

Star Hotel is a musical masterstroke. As with Ita, I prefer to hear the vocal as an instrument, rather than a storytelling device, and in this way, I can thoroughly enjoy Star Hotel without acknowledgement of the 1979 riot that is at the core of the song.

Four Walls is one of Chisel’s greatest tunes.

My Turn To Cry is a solid closer to East and encourages the playing of the album again. No, it isn’t the strongest song on the album, or even worthy of Cold Chisel’s legacy, but it works. 

Overall, East is an exceptional release that has only ever been overshadowed by Circus Animals; a truly incredible album that builds on what East was able to achieve. While Cold Chisel has an incredible legacy far exceeding these records, it’s these early 80s albums that, for me at least, represent the very best of this iconic Australian rock and roll band.    

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